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Industan_2021_graphite and sumanaghashi on paper_124.5x177cm_lowres.jpg

Skardu to Kargil_51x78_graphite and wash

2020

2019

Sharda Peeth, 10" x 45", graphite and wash on paper, 2020

The 6th century Sharada temple has played a significant historical role in Kashmiri Pandits' religious culture. It is believed to be the earliest shrine dedicated to Shaktism, or Hindu goddess worship in Kashmir. After the partition of India, Sharda Peeth came within the boundaries of Pakistan administred Kashmir. The original route which was popular before 1947 is via Kupwara, Chokibal, Tangdar (Karnah) and Teetwal upto Neelam River which is the Line of Control between the two parts of Kashmir in that area. Presently, a paved road is available upto Teetwal. After the earthquake in 2005, a crossing point was established for divided families at Teetwal and a foot-bridge was constructed to cross the Neelam river ( i.e. LoC) to reach Chaliana village of Pakistan Kashmir on the other side. This work focuses on Teetwal Crossing and a desire to develop this corridor on the same lines as Kartarpur Corridor - a religious corridor open to day piligrims who do not require visas from the Pakistani Embassy in New Delhi.

Nisa in Kangra 1905, 36" x 27"graphite and wash on paper, 2020.

While reseraching for a essay on material memories related to my grandmother, I had to interview various family members to understand her journey.I was surprised to discover that she was briefly abandoned during the catastrophic earhtquake that destroyed Kangra in 1905. I was inspired to make this drawing of her in Kangra, tucked away safely in the white tent.

For more on the essay:

GT Rd Pt II, Torkham to Lahore, 33" x 24", graphite on paper, 2020

GT Road series maps the walkable route of the 1700-mile, pre- 3rd BCE Grand Trunk Road that connects Afghanistan, Pakistan, India, and Bangladesh. From Kabul to Torkham, Khyber Pass to Lahore, Wagha to Kolkata, I have mapped the region village by village in the detailed graphite landscapes. My smaller works are literal segments of no-man’s land, Kos minars and highway bridges. My recent fascination with the GT Road stems from the desire to highlight various possibilities of horizontal trade and exchange within the South Asian region. This is the second drawing in the series which maps the walkable route from Torkham border crossing in Afghanistan to Lahore, Pakistan.

GT Road III - 12" x 48", Wagha to Kolkatta, graphite and resin on paper mounted on board, 2020

GT Road series maps the walkable route of the 1700-mile, pre- 3rd BCE Grand Trunk Road that connects Afghanistan, Pakistan, India, and Bangladesh. From Kabul to Torkham, Khyber Pass to Lahore, Wagha to Kolkata, I have mapped the region village by village in the detailed graphite landscapes. My smaller works are literal segments of no-man’s land, Kos minars and highway bridges. My recent fascination with the GT Road stems from the desire to highlight various possibilities of horizontal trade and exchange within the South Asian region. This is the last leg of the journey which begins from Wagha border and ends in Kolkatta, India.

Research generously supported by Art Jameel Research Grant.

Kishenganga,16" x 40", graphite and resin on paper mounted board, 2020

Kishenganga/ River Neelam is a river with two names. When it bends into Pakistan, it is Neelam, when it curls into India, it's Kishanganga. Both countries have harnessed its water by creating hydropower plants in parts of Kashmir. Pakistan objected to India’s plans of making the dam on river Neelam as they felt it violated the Indus water Treaty of 1960. However, India was given the go ahead as according to the treaty it was allowed to use the river for non consumptive purposes. This works shows both the dams and the river curling between it. I walk the viewer from one hydropower plant (KHPP, India) to the other (NJHP, Pakistan) passing through restricted territories. Enroute I pass the caves of Kala Roos (Black Russia) are said to be portals to enter Central Asia.

1965 Victory Day, 22" x 37", graphite on paper, 2020

1965- Victory Day depicts army generals and soldiers celebrating and surveying the aftermath of the Battle of Asal Uttar. It was one of the largest tank battles fought between India and Pakistan in 1965. Pakistan army charged into the battlefield using US made M48 Patton Tanks while British made Centurian tanks fought back from the Indian side. Both countries claim victory and continue to mark the event as a military achievement

B.R.O I

32" x 23", Soluabe graphite on paper, 2020

Graphite Drawings: Pro Gallery

Kartarpur to Dera Baba Nanak, 15 x 60, graphite and wash on paper.

Sialkot to Jammu, 30" x 66", graphite and wash on paper.

Sialkot and Jammu were once twin cities with their own Silakot to Jammu Line established in 1890. When both the cities fell under the opposite sides of the border, the train route was permanently suspended. Before Partition, the Sialkot Jammu line was a busy route with traders, businessmen and tourists making frequent day visits that took mere 90 mins. With the blockage of this important route, trade and production of sports equipment (Kashmir Willow export) and rice were gravely impacted. In this drawing, I have opened up the route and have the train line up and running again. It begins from Sialkot, on the bottom left corner and terminates in Jammu's old Vikram chowk station.

Documentation made possible by Campus Art Dubai Grant.

Karachi to Jodhpur, 15 x 60, graphite and wash on paper.

Water Barriers, 15" x 60", graphite and wash on paper.

In 2014 Indian Kashmir faced flooding of biblical nature. The clouds burst and River Jhelum overflowed for days drowning the city of Srinagar under 10-14 ft of water. We watched the restless city of the valley constantly struggling for independence drown and gurgle, momentarity submerging the line of control.

Land Marks

Land Marks, features 100 individual graphite drawings of no man's land and border crossings . These are haunting graphite drawings depicting desolate borders, gates and unmanned checkpoints at unidentified locations. The work focuses on shared language barriers rather than openings by evoking the eerie silence, hostile fencing and surveillance at lines of control and conveying the unease of the intimidating checks, bureaucratic holdups and forced deportations associated with international borders.

At airport checkpoints, my linguistic skills squeeze through the confines of a word funnel and my language delivery is reduced to simple responses. I am no longer an artist. I am now a suspect. I smile. I smile too much. I am asked to push the strands of hair away from my face. I do so, repeatedly. I am assaulted by a barrage of rapid-fire questioning, round after round. The wrong answers bear consequences.
This “checkpointspeak” also involves long moments of silence. Ambiguous hand gestures. Deep throat clearing. I was warned about this place. That my body will bear witness to all my past doings. This is where I speak a language that tongue refuses to master. Yet, I draw these locations to immerse myself in the understanding of such scared land where constant separation and surveillance takes place. Some of the drawings are a result of my summer travels to Uzbekistan where I documented frames of desolation and aloneness from the train that took me from Tashkent to Samarkand. I am drawn to the eerie silence of international borders, lines of control and hostile fencing in general. I find these locations a witness to night vision activities, forced deportations and bureaucratic holdups. The structures that represent military control often appear post-human as they never have a designated place to sleep. Abandoned railway systems, floating water barriers, scant structures with no seating, overgrown grass weaving through razor-wire fences - these problematic land disruptions are an extension of how the life of individuals as well as entire people is restricted.
As I pass from one border to another, standing in long stoic queues, I remember to mute my mother tongue and in place speak a new complacent language. One that guarantees permission to enter.

Karachi to Lucknow, 32" x 63.5", graphite and wash on watercolour board, 2018

During Partition, there were mass migrations from the state of U.P, in India to Karachi, Pakistan. Many left behind properties, hoping to settle their sales and inheritance once they settled in their new lives. The ones who took the journey by road, crossed over via Munabao, Sindh border (Thar Express). However, this route was sealed in 1965 after the Indo-Pak war. The new immigrants had to travel eastward to the then East Pakistan border (present day Bangladesh) via Kolkata, make their way to Chittagong, pass through the Bay of Bengal, sail towards the Arabian Sea to eventually make it to Karachi.

Jabel Ali to Gwadar, 14" x 60", graphite and wash on paper, 2019

Jebel Ali to Gwadar charts the walkable route from Jebel Ali port, UAE, all around the Gulf of Oman to the newly developed, China-funded, Gwadar Port in Pakistan. Gwadar is expected to emerge as the ‘new Dubai’ at the tip of Pakistan, providing a direct route for trade to the Chinese. This development is part of the multi-faceted CPEC (China Pakistan Economic Corridor). As one begins the journey from Jebel Ali, all the major ports can be visited in the Arabian Gulf. Passing through Abu Dhabi, Qatar, Bahrain, Kuwait, Iraq, Iran, Afghanistan and finally into Pakistan’s province of Baluchistan. Jebel Ali to Gwador charts the walkable route from Jebel Ali port, UAE, all around the Gulf of Oman to the newly developed, China-funded, Gwador Port in Pakistan. Gwador is expected to emerge as the ‘new Dubai’ at the tip of Pakistan, providing a direct route for trade to the Chinese. This development is part of the multi-faceted CPEC (China Pakistan Economic Corridor).

Grand Trunk Road - Kabul to Torkham

Kartarpur footbridge, 14" x 60", graphite and wash on watercolour board, 2019

Dubai to Lahore
15" x 60", graphite and wash on paper, 2017

In this imagined landscape, I have connected highways in Dubai, via Iran to Pakistan. The metro foot-bridge on Sheikh Zayed road connects to Tehran highway, crossing over Rafsanjan Bridge and finally connecting with the Chappar Rift bridge in Baluchistan, Pakistan. Inspired by a sound-piece I did earlier last year titled: How to Walk from Dubai to Lahore, I have created an easily traversable landscape that doesn’t require GPS, planes or vehicles.

Indus Water Treaty, 15" x 60", graphite and wash on paper, 2017

Intra-Punjab, 15" x 60", graphite and wash on paper, 2017

Intra-Punjab is a large drawing with various bridges connecting Indian Punjab with Pakistani Punjab that was demarcated in 1947's partition of the Sub-continent. In this utopian image, historic bridges from both sides have been welded together to resolve issue of accessibility. On one side of River Ravi lies Kartarpur and on the other Dera Baba Nanak. Both these towns are important shrines for the Sikhs. However, after the bridge connecting the two shrines was bombed during 1971, pilgrims have to take a 200 km detour via the Wagha border in Lahore.

Sir Creek, 15" x 60", graphite and wash on paper, 2017

Sir Creek is a tidal estuary that forms a maritime boundary line between Pakistan and India. The interpretation of the boundaries is contested by both countries. As the creek swells and the water level rises, fishermen in trawlers trying to make their way to the Arabian sea often find themselves in violation of illegal border crossing. Abandoned boats are a common sight with scores of fishermen languishing in prisons on both sides of the creek.